Plain returns, this time with the story of a young rape victim struggling to overcome obstacles to intimacy and true love. There's also a clammy subplot having to do with a missing person and the infiltration by the mob of an industrial site belonging to an old New England family. Charlotte Dawes is raped at 14 by her cousin-by-marriage, the randy Ted, son of her uncle Cliff's new wife, Claudia, whose first husband was shot in—where else?—Chicago. When Charlotte becomes pregnant, then, her father and her romantic adventuress mother are wild with rage. Both are beside their daughter's bedside as she recovers from an operation for a ruptured tubal pregnancy. In the meantime, Ted continues to assault women and is finally arrested and indicted for rape and kidnapping. Home on bail, he escapes in the night. (Reports from abroad of Ted-sightings occur now and then.) Skip to Manhattan eight years later, where adult Charlotte works for an architectural firm. She loves her work but despairs of forming a firm relationship with a man, sex-shy as she is. She designs for her own pleasure a ``public square'' fit for the Dawes's now shuttered mill. Unfortunately, her family has inadvertently leased the mill to a polluting waste-disposal firm, to the anger of the town and the despair of the Daweses. Then Charlotte meets the dashing Roger Heywood, whose family deals in commercial real estate. Roger is not only able to come up with the ready cash to finance Charlotte's project, but (of course) coaxes her out of her trauma-related fear of sex. Finally, Claudia, trading on her late husband's mob connections, talks a boss out of retaining the mill. Looks like smooth sailing for the lovers, but disaster threatens again in the form of a flood and a potential terrible discovery. Plain Plain (Promises, 1986, etc.), but nonetheless name- anointed for success. (Literary Guild main selection; author tour)
Pub Date: July 1, 1997
ISBN: 0-385-31686-0
Page Count: 352
Publisher: Delacorte
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 1997
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
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